Infinite Potential: The Life & Ideas of David Bohm
"twofifty - remember Beethoven": an international selection of renowned composers from a wide variety of backgrounds, predominantly from a younger generation, confronts the "myth of Beethoven" and its…
Infinite Potential: The Life & Ideas of David Bohm
"twofifty - remember Beethoven": an international selection of renowned composers from a wide variety of backgrounds, predominantly from a younger generation, confronts the "myth of Beethoven" and its countless narratives. The E-MEX Ensemble's Beethoven Revue sees itself as an appreciation of a universal artistic personality, a critical questioning of an icon of bourgeois musical culture and a necessary contribution to a contemporary image of Beethoven. One thing is certain: Even today, this central figure in music history provides rich material that presses for further artistic processing. E-MEX asks: Does the composer's fatal influence (as John Cage stated) still reverberate even in contemporary composing? Or is Beethoven himself, together with the utopian potential attributed to his music, possibly at the end, neutralised and executed by a merciless culture industry? There are plenty of starting points for an answer: ANNESLEY BLACK confronts the formal structures of the Hammerklavier Sonata with field recordings from modern piano production. MIO CHARETEAU puts biographical episodes and clichéd patterns of reception into a surprising context. SARA GLOJNARIC transforms material from a key work by the composer into her own musical language. JOHANNES KREIDLER deals with the history of cinematic reception, once again breaking and heightening the myth-making powers of the means that are decisive for today's image of Beethoven. MANOS TSANGARIS contributes a text-based performance, while as improvising "showmaster" the American vocalist and performer DAVID MOSS transports the audience to other Beethoven eras. The result is an appropriation of Beethoven that could not be more contrasting in its aesthetic approach: Composition, improvisation, performance, concept. Is Beethoven alive? —Matthias Geuting
Infinite Potential: The Life & Ideas of David Bohm
Documentary
Film Details
"twofifty - remember Beethoven": an international selection of renowned composers from a wide variety of backgrounds, predominantly from a younger generation, confronts the "myth of Beethoven" and its countless narratives. The E-MEX Ensemble's Beethoven Revue sees itself as an appreciation of a universal artistic personality, a critical questioning of an icon of bourgeois musical culture and a necessary contribution to a contemporary image of Beethoven. One thing is certain: Even today, this central figure in music history provides rich material that presses for further artistic processing.
E-MEX asks: Does the composer's fatal influence (as John Cage stated) still reverberate even in contemporary composing? Or is Beethoven himself, together with the utopian potential attributed to his music, possibly at the end, neutralised and executed by a merciless culture industry? There are plenty of starting points for an answer: ANNESLEY BLACK confronts the formal structures of the Hammerklavier Sonata with field recordings from modern piano production. MIO CHARETEAU puts biographical episodes and clichéd patterns of reception into a surprising context. SARA GLOJNARIC transforms material from a key work by the composer into her own musical language.
JOHANNES KREIDLER deals with the history of cinematic reception, once again breaking and heightening the myth-making powers of the means that are decisive for today's image of Beethoven. MANOS TSANGARIS contributes a text-based performance, while as improvising "showmaster" the American vocalist and performer DAVID MOSS transports the audience to other Beethoven eras. The result is an appropriation of Beethoven that could not be more contrasting in its aesthetic approach: Composition, improvisation, performance, concept.
Is Beethoven alive? —Matthias Geuting.